While Osaka is historically, culturally and even linguistically an important city in Japan, I never did spend much time there, not even when I lived in Kyoto, which was practically around the corner. I think I have spent all-in-all not even a whole week there in my whole life, even though I come across it a lot in media like books, TV drama and games.

The nomer "Modern City" was more than fit for Osaka in the thirties: it was a bustling city of business and culture. The whole country was quickly modernizing and industrializing, but the driving energy behind those changes was focused in capital Tokyo and here in Osaka, in the heart of West-Japan. Hirata Tsuruko still had a few years to go before she'd graduate from school, but she was already a true Modern Girl, a person of this modern era. Her greatest hobby is reading those detective stories that of late have become popular in Japan, but little did she know she'd star in her own tale of mystery! One day, as she's heading out for school, a fellow bus passenger is poisoned to death. This was only the first of a series of murders in Osaka, but what makes Tsuruko afraid is that her childhood friend Mia and her father appear to be at the center of all things. Mia and her father, an atropologist, had left Japan when both Tsuruko and Mia were very young, so Tsuruko had looked forward to meeting with her friend again, but Mia's acting very cold for some reason, and more and more deaths occur around the father and daughter, like a murder happening in the same building as where their hotel is located. Tsuruko, with the help of journalist Urugi Shousuke, tries to figure out what's going on in Osaka in Ashibe Taku's Satsujin Kigeki no Modern City ("A Murder Comedy In The Modern City", 1994).

I have mentioned in previous reviews on Ashibe Taku's books how he loves weaving historical and literary research into his stories: the pastiches featuring famous detective characters in his The Exhibition of Great Detectives series (Part 1 and Part 2) show both Ashibe's interest in the works he imitates, from writing style to publication history, but also a great understanding of world history, as he also weaves real world events with his tales, while Grand Guignol Jou proved to be a mystifying bibliomystery that mixed book-fiction with reality, involving Ellery Queen's Mystery League, a short-lived, and lesser-known precursor to Ellery Queen's Mystery Magazine. Each of these books is packed full with small references to literature and history, which has given Ashibe's books a distinct feeling.

Satsujin Kigeki no Modern City is in a way perhaps the extreme of this style. The book is a humorous account of the adventures of Tsuruko and Urugi as they try to solve a series of murders happening around the modern city of Osaka, but the story at times feels filled too much with historical trivia. Osaka in the thirties is the true focus of this novel, so it is not strange that Ashibe would want to flesh the setting out through the use of historical research in his story, but the problem is that more than often, it's simply too much. Let me start with the opening chapter for example. The story brings us along settings like Midousuji (the main street in Osaka), but each time we're given a short description of how that place has grown out to be its modern (thirties) current form. Or when Tsuruko enters the bus, we're told about the various bus lines that existed back in thirties Osaka. And then we're told about the kind of detective stories Tsuruko likes, and the magazines running back then, and the series being serialized at the moment are mentioned too. The thing is: this goes on forever. I can admire the effort that has gone into the research into thirties Japan, into the history of topics like the publication dates of detective stories, of films, of theater, of municipal services, of the geography of Osaka back then. There are also some minor references and appearances of historical figures like Tsuburuya Eiji (Father of Japanese special effects. (Co-) creator of franchises like Godzilla and Ultraman). But to have all these references pop up every other page can be a bit tiring, as it brings down the pace of the story, and it makes this detective story feel more like a Wikipedia page at times.

I myself do have an interest in early twentieth century cities in Japan (heck, I actually took a two-semester course on the modern city (development of the city in pre-war Japan) when I was studying over there) and it's nice to see Osaka as the focal point, as Tokyo is the usual suspect for these kinds of things, but the integration of all of this research is simply drowning out the rest of the novel.

There are some nice touches to this "historically sound" novel though. Some chapters end with newspaper clippings about the murders written in the old writing style to strengthen the "thirties" vibe for example, while there are also some real time schedules of trains and buses included too. These inclusions are spread out more, so they don't feel as heavy-handed as the references in the text itself. Oh, and a funny reference is that Urugi writes for the same newspaper as Morie Shunsaku, Ashibe's main detective character, used to work for before he became an attorney, many decades later.

'Completely packed" is thus a theme, and that also holds for the core mystery plot, as it features three 'real-time' murders and even more before that. We also have Hiroko running around tailing people and stuff, so there's a lot of sleuthing going on too. The core plot however feels a bit disjointed: there's no functional link between the various murders (they're different "sets" of murders), and they are on the whole fairly simple. The book often feels like a discrete series of events: one murder happens, they talk a bit about that while we're given copious amounts of historical references, another murders happens, now we move on to that and give little attention to the previous one, even more historical references etc. The murder that made the most impression was the one commited on a train: this actually features an ingenious alibi trick that makes perfect use of the era. The way the true culprit is identified is pretty brilliant too, I have to admit, as it makes great use of the setting of this book. But in general, I'd say watching Hiroko and Urugi trying to solve the crimes is more fun than actually trying to solve the murders yourself.

So basically, I could appreciate the intention of making thirties Osaka a living and breathing setting for Satsujin Kigeki no Modern City, but the way it was done led to an uneven novel, where every other thing would spark up a short history course or unveiling of a bit of trivia, while the mystery plot, even if at times really good, feels slightly disjointed and most of all, overshadowed by the presence of the Modern City. I did like Hiroko as a modern girl in the thirties though, so I'll probably read the other book in the two-part Modern City series too, as that's a short story collection, and I imagine my greatest gripes with this book (overindulging in the research and unfocused plotting) shouldn't play too much of a role in short stories.